DREAM IN THE NEXT BODY: WOMEN WRITERS FROM SOUTH AFRICA at Housing Works Bookstore Café, June 7th

From the press release: 

Housing Works Bookstore Café hosts a reading with Gabeba Baderoon, Yvette Christiansë and Nadia Davids on Thursday, June 7 at 7pm. Three South African women whose writings offer diverse views, understandings and representations of place, nation, belonging and womanhood. Together they present an unforgettable contribution to the South African literary landscape, and bring the diverse experiences of south African women to an American audience.

Gabeba Baderoon’s poetry is often a narration of leaving home, assuming the life of an exiled adult, and negotiating her sense of self against the backdrop of a world demanding explanations for identity. An extract of Nadia Davids’ play explores notions of home, loss, mourning, nostalgia and exile, all evoked in an attempt to recover the ephemeral landscape of District Six in Cape Town. Yvette Christiansë examines the history of South African slavery in her epic poetry.

Gabeba Baderoon is the author of The Dream in the Next Body (Kwela/Snailpress, 2005) and A Hundred Silences (Kwela/Snailpress, 2006). She received the DaimlerChrysler Award for South African Poetry 2005. The Museum of Ordinary Life, her short collection of poems and creative non-fiction, was also published in 2005. Her poetry has been published in several languages, and in many anthologies.

Nadia Davids is an acclaimed playwright and director; the recipient of two A.W. Mellon Fellowships and the winner of the Fleur du Cap Award for Best New Director in 2003. She has written and directed four plays, Khumbula (1995), Doc’s Wife (1999) The Butterfly and the Wog (2000), and At Her Feet (2002) – which received international acclaim while touring Southern Africa, Holland and during two stagings in NYC.

Yvette Christiansë is a novelist, poet and scholar. She was born and raised in Johannesburg, Cape Town and Mbabane. Her book of poems Castaway was short-listed for the PEN International Poetry Prize 2001. Her novel, Unconfessed is based on the life of a Cape Colony slave woman (Other Press, November 2006). Her poetry, prose and scholarly writing have been published in South Africa, Australia, Canada, France and the USA.

Housing Works Bookstore Café
126 Crosby Street (one block east of Broadway between Houston and Prince)
Subway: W, R to Prince; B, D, F, V to Broadway/Lafayette; 6 to Bleecker
General Information: (212) 334-3324

ESSENTIAL CINEMA: CLASSICS OF THE TWENTIES at Anthology Film Archives, June 10th

5:30pm
 
Total running time: ca. 75 minutes.
 

Fernand Léger with Dudley Murphy
BALLET MÉCANIQUE (1924, 12 minutes)
Francis Picabia with René Clair
ENTR'ACTE (1924, 22 minutes, with Erik Satie score)
Man Ray
LE RETOUR À LA RAISON (1923, 2 minutes)
ÉTOILE DE MER (1927, 13 minutes)
EMAK BAKIA (1927, 18 minutes)
Marcel Duchamp with Man Ray
ANEMIC CINEMA (1926, 7 minutes)

 

Anthology Film Archives
32 2nd Avenue
New York, NY 10003 USA
Telephone: (212) 505-5181
Fax: (212) 477-2714

 

EYEBEAM CELEBRATES 1OTH ANNIVERSARY: by Leah Hansen, May 17th, 2007

On the occasion of Eyebeam’s 10th anniversary celebration and benefit, the “Celebrity Media Mash-Up Tenth Anniversary”, arriving guests received electronic communication devices, created by networking specialists nTag and Dirt Party. The devices resembled television remotes on a string and guests wore the gadgets around their necks. Hold two up to each other, and each wearer’s name would appear on the device’s screen. By the end of the night, guess could tally up how many “friends” they’d made. Thus was created a digital social network that facilitated socializing—a more immediate and effective MySpace.

And herein lies Eyebeam’s auspice: a heavy emphasis on audience participation, as evidenced by its offering of classes, the cooperative art on display at the party, and previous projects such as Evan Roth and James Powderly’s electronic graffiti. Senior Fellow and advisor Cory Arcangel cemented this notion with his later statement that he didn’t believe in the idea of The Artist being a solitary genius. Eyebeam not only facilitates new digital media, but also allows such media to be shared and even tried out by the masses.

As guests ventured further into Eyebeam’s space, they were confronted with work created by artists-in-residence and fellows. All the art on display required audience participation. Cory Arcangel’s “I Shot Andy Warhol” video game, for example, allowed players to wander a Super Mario-esque world, taking aim at Warhol with a plastic gun while avoiding such uncanny characters as the Pope, Colonel Sanders, and Flavor Flav.

Similarly, Steve Lambert’s “Simmer Down Sprinter” looked like a regular two-person arcade racing game. Lambert himself appeared on the screen, jogging around a track, sporting a bushy beard and goofy running uniform. In place of traditional foot pedals, fingertip sensors tracked players’ blood flow, and racers had to relax to win. Get too stressed out, and Lambert would start running backwards. Lambert and his crew spent the evening wandering around in red tracksuits to match the game.

Other artists and Eyebeam employees wore hot pink and purple wigs. The colorful hair matched a photo booth that, for $5, printed Polaroids that looked like they’d been drawn in neon. Further installations included large screen projections of tabloid papers featuring photos taken at the party (“tabloid karaoke”) and an outdoor green laser “drawing” on the façade of an opposite building.

From 7 to 8:30pm, ticket-holders were served cocktails and dinner in a plush lounge area. At 8:30, the night’s entertainment began with an introduction by Aasif Mandvi (The Daily Show’s “Middle-East correspondent”), in which he teased Eyebeam for its perplexing self-description and the presumably few people who understand it. He continued with cracks about the Middle East, appropriate given that the anniversary celebration also served to honor Arianna Huffington and Lawrence Lessig, two champions of free speech.

Eyebeam’s director emeritus Jonah Peretti followed Mandvi with the comment that he “wasn’t 100% sure exactly what Eyebeam is either,” but went on to explain that it’s


“…like a research lab, but doesn’t have the stuffiness of academia, so you can do research on projects, but don’t have to worry about tenure and politics. It’s like an arts collective, but arts collectives usually are in warehouses with no resources, and Eyebeam has 3-D printers and laser cutters and high tech tools for artists to use. And it’s like a think tank, but instead of just thinking about ideas, you do things in the world; you can make things and put them out there, have intervention, have an impact.”

As festivities wore on, Eyebeam’s speakers continually brought up the fight for freedom of expression. Founder John Johnson referred to an eroding circle of free speech and went on to say that Eyebeam promotes freedom of the arts. He introduced Arianna Huffington, who was being honored for her role in preserving artistic freedom. Huffington was unable to attend due to an eye injury, but accepted her honor via video. Her next project will be called “Off the Bus,” and consists of hiring volunteer journalists to cover the next election, in the hopes of avoiding the partisan pandering so entwined with mainstream media.

Later in the night, guests enjoyed music by DJ Spooky and DJ N-Ron Hubbard, rapper Juice Boxxx, and DVD spinning group Eclectic Method. The couches spread throughout the lounge area left little space for moving, but some guests made their way to the stage to dance, including Eyebeam’s spry founder, Johnson.

As the party wound down and guests began to leave, the walk outside gave them another look at the aforementioned green laser. A giant smiley face doodle, brightened by the late night dark, bid farewell. For an organization so hard to define, Eyebeam’s lasting impression is unusually clear and optimistic: openness to new ideas, devotion to public art and freedom of speech. As artist Chris Sugrue told one guest, “Eyebeam is one of the few places where people come in with preconceptions and end up with collaborations.”

Juan Gomez at the American Academy, May 16, 2007

On May 16th, 2007, Juan Gomez was presented with the Richard and Hinda Rosenthal Foundation Award at the American Academy of Arts and Letters. An exhibit of his work, along with the work of other award winners, runs all month. Juan also appears in zingmagazine issue #21.

From the American Academy website:

The Rosenthal Foundation supports two awards of $5000. One, established in 1956, is for a work of fiction published during the preceding year that is a considerable literary achievement. The second, created in 1959, is for a young painter of distinction who has not yet been accorded due recognition.

STORY: Gao Shiqiang * The Gallery at Hermes: New York, NY

SEE IT NOW: 

May 4th - May 25th, a video and sound installation in four Chinese ceramic jars

 

POIRET KING OF FASHION * Metropolitan Museum of Art: New York, NY

SEE IT NOW:

May 9th - August 5th, at the Met's Costume Institute, made possible by Balenciaga

Claire K Stringer: Gitana Rosa (in support of the International Fund for Animal Welfare)

CLAIRE K. STRINGER
It's Not Funny
Friday, March 23 rd – Monday, April 23rd
Opening Reception: March 23rd  
7 – 10pm
Musical Performance by The Lisps 9pm

GITANA ROSA GALLERY
19 HOPE STREET (between Roebling and Havemeyer St)
WILLIAMSBURG, BROOKLYN

Fillip's Vancouver Launch: Wednesday, March 28, 7-9pm

 

The Fillip Reivew Launches its 5 issue!

Vancouver Launch: Wednesday, March 28, 7-9pm

Brickhouse, 730 Main Street

This event is held in conjunction with Artspeak and Arsenal Pulp Press and their release of Vancouver Art & Economies edited by Melanie O'Brian with essays by Clint Burnham, Randy Lee Cutler, Tim Lee, Sadira Rodrigues, Marina Roy, Sharla Sava, Reid Shier, Shepherd Steiner and Michael Turner.

Issue Five Content

Our latest issue features Christian L. Frock's essay on the ascension of the global star curator From (Starry Eyed) Vision to Nail and Robert Eikmeyer's interview with Slavoj Žižek entitled The Day After. Kathleen Ritter reports from Bucharest on the conference Regimes of Representation which took up questions concerning the recent conversion of the Ceausescu-built state palace into the new Romanian parliament building-cum-state art gallery.

As always, Fillip regards its international exhibition reviews as feature content: Joseph Mosconi peels away the layers of the Aurie Ramirez exhibition at the Jack Hanley Gallery, Los Angeles; Clint Burnham sifts through the videos of Eric Van Lieshout at the Boijmans Museum Rotterdam; Jessie Birch and Nicholas Brown pair up to access the twin Jeremy Deller exhibitions held in Toronto; Colleen Brown interprets Geoffrey Farmer's new project at the Catriona Jeffries Gallery, Vancouver; Michael Eddy identifies the key issues of artistic anonymity in Anonym at the Schirn Kunstalle Frankfurt; Nate Lippens compares two Alex Schweder installations in Seattle; Sara Mameni considers the implications of cybernetics and the recent Kristin Lucas show at the Or Gallery, Vancouver; Liz Bruchet takes a look at Carlos Amorales at the Museo de Arte Latinamericano de Buenos Aires; and Patrik Andersson considers the recent passing of Pontus Hulten.

Cheryl Meszaros performs a reading of two new new Jean-Luc Nancy books in relation to a video installation by Ruth Beer; while Aaron Peck questions the uptake of spatial strategies in Did Someone Say Participate?: An Atlas Of Spatial Practice.

Three new artist projects have been especially commissioned for this issue: Charles Gute's Super Curators!, a work from Germaine Koh's ongoing text archive, and Matilda Aslizadeh's Scourge of the Beast-With-Two-Backs.

 

Again and Again: Julia Chiang * Kantor / Feuer Window

Julia Chiang
Again and Again
2006-2007
Hand etched vintage and found mirrors

Kantor / Feuer Window
10th Ave. between 25th and 26th Street
February 21st - March 28th
24/7

and a short film of the installation